Aaron Sorkin’s “A Few Good Men” at the Music Box
The New Yorker, November 27, 1989
Most courtroom drama probably exists in some sense to pander to liberal values: it pits human weakness and aberration against abstract principle. Continue reading
Aaron Sorkin’s “A Few Good Men” at the Music Box
The New Yorker, November 27, 1989
Most courtroom drama probably exists in some sense to pander to liberal values: it pits human weakness and aberration against abstract principle. Continue reading